The World of Patronage in Handel’s London, 1719–1742

It is nothing new to say that in the 18th century some form of patronage was necessary for any composer wanting to work in large musical genres such as Italian opera. This was true throughout Continental Europe, including Britain – and London. Across this world were different types of patrons who, particularly in England belonged to ubiquitous clubs, societies and academies – named more or less strictly according to their nature, purpose and function.